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Relevant bibliographies by topics / Landscape painting, American Landscape painting, American

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Academic literature on the topic 'Landscape painting, American Landscape painting, American'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Landscape painting, American Landscape painting, American"

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Tatham, David, Franklin Kelly, Gerald L. Carr, et al. "American Landscape Painting." Art Journal 50, no. 1 (1991): 102. http://dx.doi.org/10.2307/777098.

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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.

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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.

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Johnson, Sarah. "Battle ground: Environmental determinism and the politics of painting the Iraqi landscape." Journal of Contemporary Iraq & the Arab World 15, no. 1-2 (2021): 41–65. http://dx.doi.org/10.1386/jciaw_00039_1.

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Beginning in the late 1940s, Iraqi artists began writing critiques of the Euro-American art movement impressionism, claiming that the way the movement framed the environment was not suited to the Iraqi landscape. Embedded in this argument was the notion that Iraqis could not paint European-style landscapes because of the fact that their environment was different from that of Europe. At the same time, paintings of the Iraqi landscape by European artists in the early twentieth century reinforced the idea that the Iraqi landscape was other than the European one because of its bright sun and empty desert, concepts familiar from nineteenth-century Orientalist discourse. This article will trace the way European painters’ representations of Iraq as other ultimately contributed to Iraqi painters seeking out a distinctive form of European landscape painting in the 1940s.

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Gerdts, William H. "American Landscape Painting: Critical Judgments, 1730-1845." American Art Journal 17, no. 1 (1985): 28. http://dx.doi.org/10.2307/1594412.

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Grusin, R. "Landscape Art and Landscape History: Some Recent Works on North American Landscape Painting." Forest & Conservation History 34, no. 2 (1990): 83–84. http://dx.doi.org/10.2307/3983863.

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Both, Mária Gabriella. "Mozaikok a tájfestészet és a geográfia kapcsolatából." Kaleidoscope history 11, no. 22 (2021): 379–88. http://dx.doi.org/10.17107/kh.2021.22.379-388.

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At the turn of the 18th and 19th centuries, natural sciences supported and drove economic development in a previously not experienced way. Europe created a new “mental image” of nature, scientific ideas with a newly emerging confidence while combining theoretical and practical researches. The Age of Enlightenment is best characterized by A. Humboldt’s discovery travels. The utilitarian approach of the age radically changed the relationship between landscape and people, first in the English speaking countries. This study endeavours to present the interrelations of men and landscape through the changes in landscape painting at the beginning of the 19th century while emphasizing the earlier definition of the geographic environment and indicating geography as an heir of the landscape painting. John Constable broke with the tradition of academic painting and found the idyllic landscape in rural England. In the New World, landscape painting used the European traditions, exemplified by the works of Thomas Cole, the first major American landscape painter. His iconic painting ’Oxbow’ followed the patterns of the traditional European landscape imaging, indicating ideas of the Sublime and the Beautiful of Poussin’ works.

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Tamponi, Guido Karl. "Nicholas L. Guardiano: Aesthetic Transcendentalism in Emerson, Peirce, and Nineteenth-Century American Landscape Painting." Zeitschrift für philosophische Literatur 7, no. 1 (2019): 101–9. http://dx.doi.org/10.21827/zfphl.7.1.35445.

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Chung, Moojeong. "The Pre-Raphaelites, American Landscape Painting and John Ruskin’s Aesthetics." Journal of Korean Association of Art History Education 30 (August 31, 2015): 39. http://dx.doi.org/10.14769/jkaahe.2015.08.30.39.

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Rosenberg, Eric, Rebecca Bedell, Martin A. Berger, Elizabeth Johns, and Alexander Nemerov. "The Anatomy of Nature: Geology and American Landscape Painting, 1825-1875." Art Bulletin 85, no. 3 (2003): 617. http://dx.doi.org/10.2307/3177392.

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Simmons, Jake. "Five Letters to Georgia O’Keeffe." Departures in Critical Qualitative Research 10, no. 1 (2021): 146–54. http://dx.doi.org/10.1525/dcqr.2021.10.1.146.

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In her lifetime, US American painter Georgia O’Keeffe (1887–1986) wrote thousands of letters to those closest to her. However, she relied on painting as her primary public voice. This essay takes the form of five letters, composed through posthumanist performative writing,1 addressed to O’Keeffe. I work through the process of experiencing the death of my father in a material landscape as it was painted by O’Keeffe. The southwestern landscapes O’Keeffe painted were the same landscapes in which my father and I negotiated material relations to live a life of what Donna Haraway calls “significant otherness.”2

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Dissertations / Theses on the topic "Landscape painting, American Landscape painting, American"

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Marley, Anna O'Day. "Rooms with a view landscape representation in the early national and late colonial domestic interior /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, p, 2009. http://proquest.umi.com/pqdweb?did=1836637881&sid=7&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Guardiano, Nicholas. "Transcendentalist Aesthetics in Emerson, Peirce, and Nineteenth-Century American Landscape Painting." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/914.

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My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways.

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Hole, Heather. ""America as Landscape" Marsden Hartley and New Mexico, 1918-1924 /." View this thesis online, 2005. http://libraries.maine.edu/gateway/oroauth.asp?file=orono/etheses/37803141.pdf.

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Thesis (Ph.D.)--Princeton University, 2005.<br>Title from PDF title page. Available through UMI ProQuest Digital Dissertations. Includes bibliographical references (leaves 282-286). Also issued in print.

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Crouch, Rachael M. "Rhetoric and Redress: Edward Hopper's Adaptation of the American Sublime." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1186602058.

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Cao, Maggie M. "Episodes at the End of Landscape: Hudson River School to American Modernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11535.

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This dissertation examines the dissolution of landscape painting as a major cultural project in the late nineteenth-century United States. As a genre aligned with the goals of nation building, landscape maintained a privileged artistic status for much of the nineteenth century. Yet as frontier development, land speculation, environmental change, and other factors slowly rendered its conventions meaningless, landscape became the site through which American artists most urgently sought to come to terms with the modern world. This argument is anchored by unorthodox artworks, from landscapes resembling banknotes to paintings made out of bird feathers—limit cases that allude to the failure of landscape in sustaining American cultural goals. Chapter One concerns Albert Bierstadt's aesthetic struggles in post-frontier America. During the 1890s, Bierstadt's anxieties about landscape surfaced in the particularities of objects that fold and unfold, from butterflies painted by chance to expanding railway cars—objects that might be considered the subconscious of a genre built upon expansionist ideology. Chapter Two argues that Martin Johnson Heade's tropical and marsh paintings of the 1870s and 1880s used “groundless” conditions to express cultural insecurities about traversable land and its representation. The pictorial blockages and interferences in Heade's paintings challenge both the compositional legibility espoused in the blockbuster canvases of his mentor and rival Frederic Church and the physical accessibility promised by the period's environmental interventions. Chapter Three proposes that Ralph Blakelock's nocturnes and money paintings—produced in the context of rampant land speculation, volatile art markets, and representational doubts surrounding paper currency—attempt but fail to overcome landscape's monetary entanglements. Blakelock's paintings theorize the value of labor and material accumulation in the increasingly abstract economic world of the last decades of the nineteenth century. Chapter Four reconsiders the trope of the "figure in the landscape" using Abbott Thayer's turn-of-the-century representations of animal camouflage. In these mixed-media artworks, Thayer's attempts to visualize invisibility demonstrate the ways in which camouflage proved irreconcilable with landscape's figure-ground principles. Together, these episodes trace pictorial attempts to resolve spatial problems arising with modernity, and in so doing, they signal a shift toward new paradigms of representation.<br>History of Art and Architecture

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Hacker, Jonathan Joseph. "The Visual Creation of the State Apparatus, Nineteenth Century American Landscape Paintings." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556557056790917.

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Robinson, Stuart T. "Essences of Charleston: The Tropical Landscape Paintings of Louis Remy Mignot, 1857-1859." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283366290.

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Donno, Julian. "American Progress - A Foucauldian Discourse Analysis." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21695.

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19th century America is shaped greatly by territorial expansion into NativeAmerican lands. A famous painting which represents this process is called AmericanProgress by John Gast. This study argues that the display of power between the settlersand the Native Americans in the painting mirrors the dominant discourse on 19th centurywestward expansion. So, the analysis is concerned with how the settlers are constructed,how the Natives are displayed and how this results in a power hierarchy. These findingsare then compared to 19th century discourse on the westward movement. The analysis isguided by the methodological tool of Foucauldian discourse analysis. The analytical stepsare informed by the two American Studies scholars Angela Miller and Martin Christadler.The research is based on pragmatism with a leaning towards constructivism. This studyfinds that American Progress contrasts civilisation and nature in similar ways as thisdichotomy is established in the discourse of the 19th century. Westward expansion in thepainting and in 19th century discourse is justified by constructing the Natives as godlessand the settlers as godly. The difference in brightness in American Progress supports thedichotomies of civilisation and nature as well as godliness and godlessness.

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Malo, Juan Xavier. "Spatialité moderne et pentes andines : le rôle du paysage dans l'architecture contemporaine à Quito." Thèse, 2018. http://hdl.handle.net/1866/21677.

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Books on the topic "Landscape painting, American Landscape painting, American"

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Society, New York Graphic, ed. Long Island landscape painting. Little, Brown, 1985.

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2

Jean, Blasdale Mary, Galer Gregory, and Lapides Michael, eds. American landscape and seascape paintings. Old Dartmouth Historical Society-New Bedford Whaling Museum, 2010.

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3

The cultured canvas: New perspectives on American landscape painting. University of New Hampshire Press, 2011.

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Mosher, Donald Allen. The seasons of New England: Landscape paintings of Donald Allen Mosher. Commonwealth Editions, 2003.

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Czestochowski, Joseph S. The American landscape tradition: A study and gallery of paintings. International Arts and the Torch Press, 2009.

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Czestochowski, Joseph S. The American landscape tradition: A study and gallery of paintings. International Arts and the Torch Press, 2009.

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Long Island landscape painting: 1820-1920. Little, Brown, 1985.

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8

Katz, Alex. Alex Katz: American landscape. Oktagon, 1995.

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Essenhigh, Inka. American landscapes, recent paintings. Albright-Knox Art Gallery, 1999.

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10

Nature and culture: American landscape and painting, 1825-1875. 3rd ed. Oxford University Press, 2007.

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Book chapters on the topic "Landscape painting, American Landscape painting, American"

1

Wilton, Andrew. "American landscape painting and the European paradigm." In English Accents. Routledge, 2018. http://dx.doi.org/10.4324/9781351159043-9.

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"Chapter 11. Landscape Painting after 1880: Tonalism." In American Watercolor in the Age of Homer and Sargent. Philadelphia Museum of Art, 2017. http://dx.doi.org/10.37862/aaeportal.00253.012.

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Andrus, Lisa Fellows. "The Role of Tools and Books in the Development of American Landscape Painting." In Measure and Design in American Painting, 1760–1860. Routledge, 2018. http://dx.doi.org/10.4324/9780429430350-6.

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"Chapter Two: Asher Durand and the Therapeutic Landscape." In The Anatomy of Nature: Geology & American Landscape Painting, 1825–1875. Princeton University Press, 2002. http://dx.doi.org/10.37862/aaeportal.00117.006.

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"Chapter Four: John Kensett, Geology, and Landscape Tourism." In The Anatomy of Nature: Geology & American Landscape Painting, 1825–1875. Princeton University Press, 2002. http://dx.doi.org/10.37862/aaeportal.00117.008.

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Barringer, Tim. "Unmistakably American? National myths and the historiography of landscape painting in the USA." In English Accents. Routledge, 2018. http://dx.doi.org/10.4324/9781351159043-11.

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"Introduction: The Popularity of Geology." In The Anatomy of Nature: Geology & American Landscape Painting, 1825–1875. Princeton University Press, 2002. http://dx.doi.org/10.37862/aaeportal.00117.004.

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"Chapter One: Thomas Cole and the Fashionable Science." In The Anatomy of Nature: Geology & American Landscape Painting, 1825–1875. Princeton University Press, 2002. http://dx.doi.org/10.37862/aaeportal.00117.005.

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"Chapter Three: Frederic Church and the Educational Enterprise." In The Anatomy of Nature: Geology & American Landscape Painting, 1825–1875. Princeton University Press, 2002. http://dx.doi.org/10.37862/aaeportal.00117.007.

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"Chapter Five: William Stanley Haseltine and the Rocks at Nahant." In The Anatomy of Nature: Geology & American Landscape Painting, 1825–1875. Princeton University Press, 2002. http://dx.doi.org/10.37862/aaeportal.00117.009.

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